42
Portfolios%3D%222070%22%20and%20Century%3D%2220th%20Century%22
Painting
Interlude
The Lute Players
Maxfield Parrish, 1870 - 1966
Parrish, Maxfield
United States
1870 - 1966
Male
84 x 60 in. (213.4 x 152.4 cm)
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approximate installation dimensions
frame
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with frame
object
Oil
Oil
1922
1922
1922
1900-2000, 20th century, from Rochester collections, musical instruments (depictions), paintings, women
Painting
Maxfield Parrish, leading illustrator and muralist of the early twentieth century, painted Interlude to hang at the Eastman Theatre in Rochester. Through architect Lawrence Grant White, George Eastman commissioned three murals for the theater, which served as both silent movie palace and philharmonic hall. Interlude was Eastman’s favorite, a “peacherina,” he wrote White.
The radiant quality of Interlude is due to Parrish’s high technical standards and theatrical sense of color—electrical reds, vivid purples, and lush apricots. A shade of cobalt straight from the tube was applied so ingeniously that it became known as “Parrish blue.” He painted glaze upon glaze to create a hard photographic finish that betrayed no brush strokes.
Interlude was moved to the Memorial Art Gallery in 1997 to provide it with more stable temperature and humidity conditions. In its place at the Eastman Theatre is a full-size color reproduction.
Elizabeth Brayer, George Eastman Historian
[Summer 2015]
lower right
5.1997L
item
Memorial Art Gallery
6/1/2000
5.97LTR1
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Memorial Art Gallery
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Memorial Art Gallery
Imaging complete
6/19/2001
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5.97LDI#4
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/5.97L_A4.jpg
Sculpture
Memory
William Ordway Partridge, (Paris, France, 1861 - 1930, New York, NY)
Partridge, William Ordway
United States
1861 - 1930
Male
82 1/2 x 26 3/4 x 29 5/8 in. (209.6 x 67.9 x 75.2 cm)
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overall
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overall
Marble
Marble
1914
1914
1914
1900-2000, 20th century, allegories, from Rochester collections, sculpture, women
Sculpture
back, at bottom
1913.12
item
Memorial Art Gallery
9/8/1999
13.12TR1
Transparency
Memorial Art Gallery
Front
4 x 5
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13.12DI1
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Memorial Art Gallery
Front
Imaging complete
2/1/2001
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instalation in orig gallery
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archival
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2/8/2006
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44partridge1.tif
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pdf file
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http://127.0.0.1:5000/Media/images/surrogates/pdf/13.12_R2.pdf
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Painting
Oxen on the Beach
Joaquin Sorolla y Bastida, (Valencia, Spain, 1863 – 1923, Madrid)
Sorolla y Bastida, Joaquin
Spain
1863 - 1923
Male
29 x 43 in. (73.7 x 109.2 cm)
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approximate installation dimensions
frame
Oil
Oil
1910
1910
1910
1900-2000, 20th century, men, oxen, paintings, seascapes
Painting
Sorolla discovered Impressionism during an 1885 visit to Paris and took its revolutionary approach to light and color back to Spain with him. There he developed his own style, characterized by large, strong brushstrokes, and soon his international reputation was established. Sorolla's special ability to render the play of bright sunlight on the sea, on sand, and on figures along the beach has been praised by critics. "Oxen on the Beach," which features all three surfaces, is a brilliant display of Sorolla's talents.
[adapted from gallery label text, 1999]
lower right
1914.8
item
Memorial Art Gallery
1/17/2001
14.8TR1
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6/28/2002
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http://127.0.0.1:5000/Media/images/related_images/14.8_R1.jpg
Painting
Girl with a Tricorne (Vénitienne)
Henri Matisse, (Le Cateau-Cambrésis, France, 1869 – 1954, Nice, France)
Matisse, Henri
France
1869 - 1954
Male
24 3/8 x 20 in. (61.9 x 50.8 cm)
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approximate installation dimensions
frame
Oil
Oil
1922-1923
1922
1923
1900-2000, 20th century, paintings, women
Painting
lower right
1924.38
item
Memorial Art Gallery
1/30/2001
24.38TR1
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4 x 5
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Detail left side of dress
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24.38DI#4
digital image
Detail of dress
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http://127.0.0.1:5000/Media/images/24.38_A5.jpg
pdf file
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/pdf/24.38_R1.pdf
Painting
William H. Macdowell
Thomas Eakins, 1844-1916
Eakins, Thomas
United States
1844 - 1916
Male
24 x 20 in. (61 x 50.8 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
ca. 1904
1899
1909
1900-2000, 20th century, figure, men, paintings, portraits, Realism
Painting
Thomas Eakins painted multiple portraits of his father-in-law, William H. Macdowell. Eakins’s sensitive portraits and genre scenes defined American realist art at the end of the 19th century. His art and commitment to realism were enormously influential to the artists of the Urban Realist movement.
[Gallery label text, 2007]
Thomas Eakins was one of America's greatest painters, whose realistic portrayals of people at work and at play have become icons of American culture. He immortalized many friends and family members by using them as subjects, among them his father-in-law, William Macdowell, an engraver and self-styled philosopher, whom Eakins painted and photographed numerous times. In the Gallery's portrait, Macdowell's aged face, rendered with scrupulous care and detail, emerges from a somber background. In this direct and straightforward manner, Eakins suggests Macdowell's strength of character and distinctive personality.
[Gallery label text]
initialed, verso
1941.26
item
Memorial Art Gallery
9/8/1999
41.26TR1
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Memorial Art Gallery
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41.26SL
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photo of Wm. Macdowell
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Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/41.26_A1.jpg
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digital image
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photo of Mr. & Mrs. Wm Macdowell
2 x 2
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M425_p140.tif
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41.26DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/41.26_A2.jpg
x-ray
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Painting
Election Night
John Sloan, 1871 - 1951
Sloan, John
United States
1871 - 1951
Male
26 3/8 x 32 1/4 in. (67 x 81.9 cm)
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approximate installation dimensions
frame
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Oil
Oil
1907
1907
1907
1900-2000, 20th century, Ashcan School and friends, movement, paintings, politics in art
Painting
This scene, nearly unintelligible in its crowding and confusion, is Sloan’s celebration of the furor of the city on election night.
[Gallery label text, 2007]
John Sloan met Robert Henri in Philadelphia, and from early on maintained a friendship and correspondence with him until Henri died in 1929. He moved to New York City at Henri’s urging.
On November 5, 1907, he wrote: “Election Day… saw the noisy trumpet blowers, confetti throwers and the 'ticklers' in use - a small feather duster on a stick which is pushed in the face of each girl by the men, and in the face of men by the girls. A good humorous crowd, so dense in places that it was impossible to control one's movement.” The location, Herald Square at 34th and Broadway, was close by the New York Herald Building as well as Macy's. The elevated railroad tracks loomed overhead, increasing the suggestion of noise and activity in the scene.
Sloan included Election Night as one of his entries in the 1908 exhibition at Macbeth Gallery. In his estimation, it was “…one of my best things. So that I felt happy in the evening, that good all over feeling that only comes from satisfaction in work - the real happiness, the joy of accomplishing or thinking that one has accomplished, which amounts to the same thing.”
[Gallery label text, 2003]
lower left
1941.33
item
Memorial Art Gallery
9/8/1999
41.33TR1
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Memorial Art Gallery
4 x 5
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detail-central group
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Memorial Art Gallery
Imaging complete
7/10/2000
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detail- lady in red
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detail-man with false nose
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Painting
Sullivan Street
Everett Shinn, 1876 - 1953
Shinn, Everett
United States
1876 - 1953
Male
8 x 10 in. (20.3 x 25.4 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
1900-1905
1900
1905
1900-2000, 20th century, Ashcan School and friends, cityscapes, paintings, winter
Painting
In a city of many tough neighborhoods, New York’s Sullivan Street was one of the toughest. Shinn’s depiction of the isolated figure in the foreground evokes the condition of modern man in an urban environment—a recurring theme in the art of the Urban Realists.
[Gallery label text, 2007]
In 1897, encouraged by his mentor Robert Henri, Shinn moved from Philadelphia to New York City. Like Luks and Glackens, he was an artist-reporter as well as a painter. He exhibited with The Eight in 1908 at Macbeth Gallery. Sullivan Street was owned by the artist until 1945, when the Memorial Art Gallery purchased the canvas directly from him.
With just a few strokes of his brush, Everett Shinn has recreated an overcast winter street scene filled with mood and mystery. Sullivan Street is in Greenwich Village, around the corner from Shinn's studio on Waverly Place and near Washington Square Park, whose leafless trees can be seen beyond the buildings on the right.
[Gallery label text, 2003]
lower left
1945.45
item
Memorial Art Gallery
9/8/1999
45.45TR1
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Memorial Art Gallery
Imaging complete
8/3/2000
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Painting
Evening Group
George Bellows, 1882 - 1925
Bellows, George
United States
1882 - 1925
Male
25 x 30 in. (63.5 x 76.2 cm)
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approximate installation dimensions
frame
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overall framed size
frame
Oil
Oil
1914
1914
1914
1900-2000, 20th century, Ashcan School and friends, leisure activities, paintings, Realism, seascapes
Painting
This painting portrays the artist with his wife, Emma, and daughter, Anne, on vacation on Monhegan Island off the coast of Maine. Two neighbor children occupy the right side of the canvas.
[Gallery label text, 2007]
In the summer of 1914, painter George Bellows convinced his wife, Emma, to travel to Monhegan Island off the coast of Maine along with their young daughter, Anne. There, he hoped to paint more of the stunning seascapes he had worked on so successfully in past years. Evening Group depicts Emma and Anne on the left, the artist in the middle, and two neighbor children on the right.
Based in New York City during much of the year, Bellows found that the harsh beauty of places like Monhegan Island provided him with subjects that contrasted dramatically with his acclaimed urban scenes. He first visited the island in 1911 in the company of his teacher and mentor, Robert Henri, and wrote enthusiastically to Emma: “The Island is only a mile wide and two miles long, but it looks as large as the Rocky Mountains. It’s three times as high as Montauk [Long Island] and all black and grey rock. Beautiful pine forests and wonderful varieties of all kinds…” In another letter, he lamented “my head is full of millions of great pictures which I will never have time to paint.”
[Gallery label text, 2005]
lower leftback of panel, Handwritten, capital letters, printed (not script) on back of panel.
1947.13
item
Memorial Art Gallery
9/8/1999
47.13TR1
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Memorial Art Gallery
4 x 5
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Memorial Art Gallery
Imaging complete
7/10/2000
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photo in Art & Deocration Magazine 8/1915
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Painting
Boomtown
Thomas Hart Benton, 1889 - 1975
Benton, Thomas Hart
United States
1889 - 1975
Male
46 1/8 x 54 1/4 in. (117.2 x 137.8 cm)
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overall framed size
horizontal
frame
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without frame
Egg yolk and oil
Egg yolk and oil
1928
1928
1928
1900-2000, 20th century, American Scene/Regionalism, cityscapes, Encyclopedia Britannica Collection, paintings
Painting
Early in his career, Thomas Hart Benton was involved in the American abstract movement, Synchromism. In the 1920s, Benton embarked on a style that incorporated Synchromist rhythmic line and expressive color with representational imagery of rural America. With this major shift in style, Benton established the Regionalist movement. Many consider Boomtown to be the artist’s first Regionalist masterpiece.
[Gallery label text, 2007]
Boomtown is one of the masterpieces of the Gallery's collection because of its impressive and unique depiction of an American landscape. When Thomas Hart Benton sketched this panoramic scene from a second floor window, the smoky fire on the horizon signified progress, not pollution. Borger, Texas was a boomtown that sprang to life in 1926 after a refinery company hit a gusher that produced 5000 gallons of oil a day.
Benton is one of the three major American Regionalists (the other two are Grant Wood and John Steuart Curry), so called because most of their subjects were about life in the rural heartland of America.
While Benton was not a fan of contemporary modernist painting, and in fact disdained artists who painted in the abstract style, he couldn't help but be influenced by the curvy and streamlined aesthetic of his times and the way in which artists were reinterpreting three-dimensional space. Consider the way in which the people, buildings and landscape are layered from top to bottom on the canvas, rather than being laid out carefully from front to back in the manner of traditional artistic renderings.
[Gallery label text, 2006]
lower right
1951.1
item
Memorial Art Gallery
9/8/1999
51.1TR1
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Memorial Art Gallery
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Memorial Art Gallery
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7/10/2000
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51.1DI4
digital image
Detail
6/11/2009
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51.1DI5
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Detail
6/11/2009
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51.1DI6
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6/11/2009
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51.1DI7
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.1_A6.jpg
51.1DI8
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.1_A9.jpg
digital image
00/00/00
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Painting
Whitestone Bridge
Ralston Crawford, 1906 - 1978
Crawford, Ralston
United States
9/5/1906 - 4/27/1978
Male
40 1/4 x 32 in. (102.2 x 81.3 cm)
.
.
.
overall framed size
vertical
frame
.
.
.
without frame
Oil
Oil
1939-1940
1939
1940
1900-2000, 20th century, bridges, Encyclopedia Britannica Collection, paintings, Precisionism
Painting
Ralston Crawford’s strong linear style and simplified form and palette in Whitestone Bridge are representative of the modern Precisionist style. Precisionist artists celebrated industrialization and technology with a visual language that evoked the purity and perfection of the machine.
[Gallery label text, 2007]
The Whitestone Bridge, linking The Bronx and Queens, was opened in 1939 just in time for the New York World's Fair. The suspension bridge routed travelers coming to the Fair from Upstate and New England away from the congestion of New York City. At the same time, Crawford was moving away from painting traditional landscapes and searching for a vocabulary that was closer in spirit to the streamlined, industrial aesthetic that he was observing in the world around him. The Whitestone Bridge was an excellent match for his artistic aspirations.
The sleek and futuristic lines of the Whitestone Bridge matched the Trylon and Perisphere logo of the World's Fair, which was intended to signify progress and the World of Tomorrow. By 1944, when this painting was acquired by the Encyclopedia Britannica Collection, the sleek and elegant Whitestone Bridge had become an icon of contemporary design.
The curator traveled to New York City to determine whether the bridge really looks as though it extends back into space with no land visible on the other side. And, in fact, Crawford's thrilling vantage point can be experienced by taking the bus across the bridge - for a brief instant, the first-time crosser experiences the view that Crawford recorded: a slim line of road, held up by wires, sailing across the water with no end in sight.
[Gallery label text, 2006]
lower right
Neelon Crawford
1951.2
item
Memorial Art Gallery
9/8/1999
51.2TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.2SL1
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51.2DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/51.2_A1.jpg
51.2SL2
slide
photo of bridge from same vantage point
2 x 2
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51.2DI2
digital image
00/00/00
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51.2DI3
digital image
Memorial Art Gallery
Imaging complete
00/00/00
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60crawford1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/60crawford1.tif
51.2DI#3
digital image
5/22/2013
http://127.0.0.1:5000/Media/images/51.2_A3.jpg
Painting
Landscape with Garage Lights
Garage Lights
Stuart Davis, (Philadelphia, PA, 1892 – 1964, New York, NY)
Davis, Stuart
United States
1892 - 1964
Male
32 x 41 7/8 in. (81.3 x 106.4 cm)
.
.
.
overall framed size
horizontal
frame
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1931-1932
1931
1932
1900-2000, 20th century, Abstract, cityscapes, Encyclopedia Britannica Collection, Modernism, paintings
Painting
Stuart Davis began as a student of the Urban Realist style, but upon seeing the many European modernist works on display at the New York Armory Show of 1913, the artist found his passion for abstraction. The influence of the broken-up and flattened surfaces of Cubism and the syncopated rhythms of American jazz contributed to Davis’ personal style.
[Gallery label text, 2007]
Gloucester, one of Massachusetts's oldest seaports, was a summer home for painter Stuart Davis from the time he was a young man of twenty-two. This view of the harbor clearly captivated him by the early 1930s, and preliminary studies of this painting reveal how carefully he considered the scene and translated it into paint, all the while deliberately conveying a sense of simplicity and speed in its execution.
After a Parisian stay in the late 1920s, Davis returned to the United States with a new way of seeing things. The goal for him was to paint an expressive, abstracted version of the world around him, rather than a photographic simulacrum. As modernism challenged the nature of reality and how it is perceived, Davis reminds us here that it is possible to see two sides of a building at once, and that often it really looks like only half of a ship is in the water even though our brains convince us that the other half is hidden behind the fish warehouse. Flatness and simplification of forms were characteristics that distinguished work of influential European painters like Picasso and Matisse, whose work Davis would have encountered during his stay in France.
[Gallery label text, 2006]
yes, lower righton top stretcher memberon vertical cross member, inscription is written vertically down the cross member and the "I" in "Davis" is written horizontally
1951.3
item
Memorial Art Gallery
9/8/1999
51.3TR1
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Memorial Art Gallery
4 x 5
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51.3DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/51.3_A1.jpg
51.3SL2
slide
detail-slightly cropped
2 x 2
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51.3SL3
slide
photo of old gas pump
2 x 2
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00/00/00
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digital image
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51.3DI3
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/51.3_A2.jpg
Painting
Cars in a Sleet Storm
Arthur Dove, (Canandaigua, NY, 1880 - 1946, Long Island, NY)
Dove, Arthur
United States
1880 - 1946
Male
15 x 21 in. (38.1 x 53.3 cm)
.
.
.
overall framed size
horizontal
frame
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1938
1938
1938
1900-2000, 20th century, cars, Encyclopedia Britannica Collection, Modernism, paintings
Painting
Painted in Geneva, NY, Cars in a Sleet Storm is representative of Arthur Dove’s personalized abstract vocabulary with which he responded to the world around him. Dove, along with Georgia O’Keeffe and Marsden Hartley, were members of a group of modernist American artists championed by the photographer Alfred Stieglitz in his 291 Gallery in Manhattan.
[Gallery label text, 2007]
Arthur G. Dove was a native of Geneva, New York, about 46 miles from Rochester. Early on, rural New York State did not satisfy Dove's desire for a more engaged artistic life, and a few years after the turn of the 20th century, he moved to New York City and then to Paris. On his return to the United States in 1910, he began to paint abstract landscapes, and is considered one of America's first abstract painters. Dove's work was actively exhibited by photographer Alfred Stieglitz in his Gallery 291 and Intimate Gallery, major centers of avant-garde art in the United States. Stieglitz also showed the work of Georgia O'Keeffe whom he married in 1924.
Cars in a Sleet Storm was painted at the end of Dove's years in Geneva, where he had returned to manage his father's estate.
Dove's own words align him with the 20th century movement away from identifiable subject matter:"I would like to make something that is real in itself, that does not remind anyone of any other thing, and that does not have to be explained like the letter A, for instance." He also commented, "… I no longer observed in the old way, and not only began to think subjectively but also to remember certain sensations purely through their form and color, that is, by certain shapes, planes of light, or character lines determined by the meeting of such planes."
[Gallery label text, 2006]
lower center
Toni Dove
1951.4
item
Memorial Art Gallery
9/8/1999
51.4SL1
slide
Memorial Art Gallery
full
2 x 2
00/00/00
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cropped
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00/00/00
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51.4DI2
digital image
4/17/2014
http://127.0.0.1:5000/Media/images/51.4_A2.jpg
Painting
The Opposition
William Gropper, 1897 - 1977
Gropper, William
United States
1897 - 1977
Male
28 x 38 in. (71.1 x 96.5 cm)
.
.
.
overall framed size
horizontal
frame
.
.
.
without frame
Oil
Oil
1942
1942
1942
1900-2000, 20th century, American Scene/Regionalism, Encyclopedia Britannica Collection, men, paintings, politics in art, Social Realism
Painting
William Gropper satirized the United States Senate in The Opposition as lawmakers were threatening to cut significant federal funding for the arts. Gropper wrote, “I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate…[has] such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country.”
William Gropper supported himself with his political cartoons, satirical drawings, and illustrations, most of which pointed out how the burdens of society were largely borne by the working class.
[Gallery label text, 2024]
Lawmakers were threatening to cut significant federal funding for the arts when political cartoonist and painter William Gropper satirized the United States Senate in The Opposition. Gropper wrote, “I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate…[has] such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country.”
[Gallery label text, 2007]
William Gropper was best known for his caustic commentary on the American political and social scene. He depicted realistic and identifiable subjects; The Opposition was one of a number of paintings and illustrations that came out of his 1934 assignment for the magazine Vanity Fair, to sketch legislators in action in Washington. Gropper made no bones about his distaste for politics and used his art to further his point of view:
"I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate and the House of Representatives have had such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country. No matter how far removed from politics artists may be, it seems to strike home. Only recently one blasting speech of a reactionary representative resulted in not only doing away with the Section of Fine Art, but also dismissing the Graphic Division of the OWI [Office of War Information] and nullifying art reportage for the War Department."
Gropper's start as a newspaper illustrator informed the creative processes of the rest of his life. His work retained his journalist's interest in issues of the day, giving it a particularly topical essence presented in a dynamic, expressionistic format.
[Gallery label text, 2006]
lower left
1951.5
item
Memorial Art Gallery
9/8/1999
51.5TR1
Transparency
Memorial Art Gallery
4 x 5
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51.5DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/51.5_A1.jpg
51.5DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
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63gropper1.tif
digital image
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Watercolor
Marin Island, Small Point, Maine
John Marin, 1870 - 1953
Marin, John
United States
1870 - 1953
Male
17 x 21 3/4 in. (43.2 x 55.2 cm)
.
.
.
sheet
Watercolor
Watercolor
1931
1931
1931
1900-2000, 20th century, Encyclopedia Britannica Collection, seascapes, watercolors
Watercolor
Like Arthur G. Dove and Georgia O'Keeffe, John Marin aligned himself with the avant-garde circle surrounding Alfred Stieglitz. While Marin's favorite subjects were landscapes and seascapes, particularly Maine marines, he applied to them the modernist sensibilities that he absorbed from European masters like Cézanne, whose first one-man show was at Stieglitz's Gallery 291 in 1911. The island that Marin depicts here is one that he purchased in 1914 immediately after getting married. It is off the coast of Maine, near Portland. The Maine landscape drew Marin back throughout his life.
A chief characteristic of twentieth century painting has been the practice of artists to transform subject with emotion, or as Marin's fellow painter Arthur Dove describes it, to pull the subject matter out and leave the sensation. Here, Marin sketches in the bare bones of his island but then folds it in as part of an all-over expression of action and energy, as if to suggest that the land mass is one with the wind and the waves.
[Gallery label text, 2006]
lower right
1951.10
item
Memorial Art Gallery
9/8/1999
51.10TR1
transparency
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.10SL1
slide
2 x 2
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51.10DI1
digital image
Memorial Art Gallery
Imaging complete
2/20/2001
http://127.0.0.1:5000/Media/images/51.10_A1.jpg
53marin1.tif
digital image
00/00/00
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http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p216.tif
Painting
Chinese Restaurant
John Sloan, 1871 - 1951
Sloan, John
United States
1871 - 1951
Male
26 x 32 1/4 in. (66 x 81.9 cm)
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.
overall framed size
horizontal
frame
.
.
.
without frame
Oil
Oil
1909
1909
1909
1900-2000, 20th century, Ashcan School and friends, cats, Encyclopedia Britannica Collection, important MAG collections, paintings
Painting
John Sloan’s interest in the working class was not only aesthetic, it was also political. By 1909, Sloan was an active member of the Socialist party and used his art to shine a light on the equally noble and interesting lives of the lower classes. Marrying style to subject, Sloan’s loose brushwork and dark colors epitomize the Ashcan style.
[Gallery label text, 2007]
In 1909, many artists and collectors would not have considered a Chinese restaurant to be an appropriate subject for a painting. The artist, John Sloan, was part of a group of artists labeled “Ashcan” painters early in the century, because of their frequent choice of the less genteel aspects of urban life. Now, Sloan’s paintings are recognized as major documents of American life and this painting, like many others on view in this installation, is often loaned to museums in the United States and overseas.
Also called “The Eight,” Sloan and his seven colleagues exhibited together in a landmark show at Macbeth Gallery in 1908 in response to the jurying system of the National Academy and its more traditional members that frequently excluded less conventional artists.
It’s amusing to consider that in 1943, when the Encyclopedia Britannica collection was being assembled, that a painting created in 1909 would be considered contemporary. However, it may have been included in recognition of the fact that John Sloan painted his contemporary world as he saw it. In fact, in 1943, the freshness of Sloan’s style and the timeless nature of the scene painted thirty-four years previously did not seem out of keeping with many works from the 1940s. And Sloan was still quite an active artist at this point in his life.
[Gallery label text, 2006]
As recommended by his mentor, painter Robert Henri, John Sloan derived most of his subjects from close observation of his surroundings. Such was the case on the night of February 23, 1909, when he went out to eat at a restaurant on Sixth Avenue, not far from Herald Square. He wrote, “I saw a strikingly gotten up girl with dashing red feathers in her hat playing with the restaurant's fat cat. It would be a good thing to paint. I may make a go at it.” Characteristically, Sloan waited for a bit before undertaking the work, and on March 15 wrote, “I started a memory painting of the Chinese Restaurant girl I saw some four weeks ago." His intermittent working style is revealed by a diary entry on March, 18, in which he described not only working on the painting, but going to the restaurant again to “refresh my memory of the place.”
In 1944, the painting joined a corporate collection of outstanding contemporary art formed by the Encyclopedia Britannica. In 1951, the Memorial Art Gallery acquired fourteen paintings from the collection – this painting and work by Thomas Hart Benton, Georgia O'Keeffe, and Stuart Davis, among others.
[Gallery label text, 2003]
lower left
1951.12
item
Memorial Art Gallery
9/8/1999
51.12TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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Memorial Art Gallery
Imaging complete
7/10/2000
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51.12TR2
transparency
Full
4 x 5
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51.12DI#2
digital image
6/1/2009
http://127.0.0.1:5000/Media/images/51.12_A2.jpg
Painting
Waterloo Bridge, Veiled Sun
Claude Monet, (Paris, 1840 – 1926, Giverny, France)
Monet, Claude
France
1840 - 1926
Male
25 1/2 x 39 1/4 in. (64.8 x 99.7 cm)
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.
without frame
.
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.
with frame
frame
Oil
Oil
1903
1903
1903
1900-2000, 20th century, bridges, cityscapes, Impressionism, London, England, paintings
Painting
Monet loved London for its fog. During his 1901 visit to the city, he attempted to capture the evanescent effects of its misty climate in a series of views of Waterloo Bridge under varying conditions. Each time the light and weather shifted, he began a new canvas or returned to the one that recorded that particular atmosphere. Monet did not complete the paintings in London. He perfected them in his studio in France over the next three years. Thus, this painting records not only the artist's immediate response to the scene, but also his memory of it.
[Gallery label text, 1999]
lower rightback of frameback of framestretcher, Presumably Durand-Ruel number?stretcher, Torn away at right edgestretcherstretcherstretcherback of canvas
1953.6
item
Memorial Art Gallery
4/5/2000
53.6TR1
Transparency
Memorial Art Gallery
4 x 5
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digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/53.6_A1.jpg
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Color separations
5 x 7
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53.6DI#2
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.6_A2.jpg
53.6DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.6_A3.jpg
53.6DI#4
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.6_A4.jpg
53.6DI#5
digital image
6/20/2016
http://127.0.0.1:5000/Media/images/53.6_A5.jpg
Painting
Still Life with Pipe (Nature morte à la Pipe)
Georges Braque, (Argenteuil, France, 1882 - 1963, Paris)
Braque, Georges
France
1882 - 1963
Male
16 x 13 in. (40.6 x 33 cm)
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.
.
.
approximate installation dimensions
frame
Oil
Oil
1913
1913
1913
1900-2000, 20th century, Cubism, paintings, still lifes
Painting
back of canvas
1954.12
item
Memorial Art Gallery
1/30/2001
54.12SL1
slide
full
2 x 2
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full
2 x 2
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54.12DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/54.12_A2.jpg
Painting
Portrait in a Brown Dress
Lady in Yellow
Thomas W. Dewing, (Boston, MA, 1851 - 1938, New York, NY)
Dewing, Thomas W.
United States
1851 - 1938
Male
20 x 15 1/2 in. (50.8 x 39.4 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1908
1903
1913
1900-2000, 20th century, paintings, portraits, women
Painting
Around the same time that Thomas Dewing painted this portrait of a young woman reading a book, American art critic Charles Caffin wrote about Dewing's work:
"Generations of repressed emotion have made [Dewing's women] incapable of passion; strenuousness survives only in supersensitive nerves; their sole religion is the worship of self…They are motionless in an atmosphere from which all human warmth has been sucked, in a vacuum drained of intellectual and emotional nourishment. These bodily shapes are not of flesh and blood; they are the essence distilled from the withering of what is womanly, the mere fragrance of dead rose-leaves."
Thomas Dewing's depictions of genteel, ethereal young women engaged in contemplative and artistic pursuits stand in contrast to the bold and vigorous "New Woman," the feminist model of woman who emerged during this same period. The "New Woman" earned a living and wanted the vote and was not content to be marginalized in gauzy environments like the ones created by Dewing.
This painting is in its original frame, which is similar to those designed by Stanford White, who created opulent and decorative environments for many of Dewing's Gilded Age patrons.
(1). Charles H. Caffin, The Story of American Painting: The Evolution of American Painting from Colonial Times to the Present (New York: Frederick A. Stokes Company, 1907) , 189.
[Gallery label text]
lower leftverso, upper rightverso
1957.79
item
Memorial Art Gallery
9/8/1999
57.79TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.79SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
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negative
full
4 x 5
00/00/00
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57.79DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/57.79_A1.jpg
M425_p159.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p159.tif
M425_p159(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p159(10).tif
Drawing
Young Mother, Daughter, and Baby (Jeune mère, fillette et bébé)
Mother and Son on a Chaise Longue, Daughter Leaning Over Them
Mary Cassatt, 1844 - 1926
Cassatt, Mary
United States
1844 - 1926
Female
43 1/4 x 33 1/4 in. (109.9 x 84.5 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Pastel
Pastel
1913
1913
1913
1900-2000, 20th century, children, drawing, families, figure, women
Drawing
Mary Cassatt was an American artist who lived in France for much of her life, after having moved there at the age of 21 in order to study painting. Artist Edgar Degas admired Cassatt’s art and encouraged her to join the circle of painters that included Pierre Renoir and Claude Monet, the group that became known as the Impressionists. She first exhibited with them in 1879, when she was 35, and continued to be associated with them for the rest of her life. Cassatt was the only American woman in the group.
While Cassatt’s subjects were typically women and children, she herself lived an atypical life for a woman in that period. Cassatt was a strong supporter of women’s suffrage; this painting and others were exhibited in a 1915 exhibition at Knoedler’s that was organized by Cassatt’s good friend and staunch supporter, suffragist and art connoisseur Louisine Havemeyer.
[Gallery label text, 2009]
lower right
1959.16
item
Memorial Art Gallery
9/8/1999
59.16TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
59.16SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8x10
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glossy
full
5x7
00/00/00
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negative
full
4x5
00/00/00
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59.16DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/59.16_A2.jpg
59.16SL1
slide
in 4/1915 exhibit
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
59.15TR2
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
59.16DI#2
digital image
Memorial Art Gallery
1/9/2008
http://127.0.0.1:5000/Media/images/59.16_A1.jpg
Sculpture
Calligraphics
Isamu Noguchi, 1904 - 1988
Noguchi, Isamu
United States
1904 - 1988
Male
70 5/8 x 18 x 3 5/8 in. (179.4 x 45.7 x 9.2 cm)
.
.
.
overall
Iron, wood and rope
Iron, wood and rope
1957
1957
1957
1900-2000, 20th century, sculpture
Sculpture
Isamu Noguchi’s father was a Japanese poet and his mother was an American writer. Although he was born in California and lived much of his life in the U.S., Noguchi’s travels reflected his own East-West duality. The artist spent his childhood traveling throughout Japan with his mother. As a young man he went to Paris to study with the abstract sculptor Constantin Brancusi. In China, he studied the ancient art of calligraphy.
In the sleek, mid-century forms of Calligraphics, Noguchi combined his love of modern sculpture and calligraphy. The two shapes suggest abstract versions of Japanese characters: ni meaning “the sun” (like the red sun on the flag of Japan) and hon meaning “the origin” (perhaps his own).
[Summer 2015]
1960.2
item
Memorial Art Gallery
9/8/1999
60.2TR1
Transparency
Memorial Art Gallery
Front
2 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
transparency
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
60.2SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
60.2DI1
digital image
Memorial Art Gallery
Front
Imaging complete
2/5/2001
http://127.0.0.1:5000/Media/images/60.2_A1.jpg
60.2DI#3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/60.2_R1.jpg
Painting
Ruby Gold
Hans Hofmann, (Weissenburg, Bavaria, Germany, 1880 - 1966, New York, NY)
Hofmann, Hans
United States
1880 - 1966
Male
55 3/8 x 40 1/2 in. (140.7 x 102.9 cm)
.
.
.
without frame
.
.
.
approximate installation dimensions
Oil
Oil
1959
1959
1959
1900-2000, 20th century, American art, Modernism, paintings, red
Painting
According to painter Hans Hofmann, “there are bigger things to be seen in nature than the object.” Ruby Gold demonstrates this idea through the dramatic interplay of color, form, and expression.
Hofmann was one of the most influential teachers of Abstract Expressionism, the painting style for which he is known. While other painters, such as Jackson Pollock, pioneered the style, Hofmann taught it to generations of students and helped to cement its role as a dominant form of painting in the U.S. from the 1950s onward. He created his signature works, like Ruby Gold, in the last eight years of his life, when, at age 78, he stopped teaching and devoted himself exclusively to painting.
[Summer 2015]
lower rightversoversoverso, stretcherverso, stretcher
1960.37
item
Memorial Art Gallery
9/8/1999
60.37TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
60.37CNEG1
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
60.37SL1
slide
full
2 x 2
00/00/00
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glossy
full
8 x 10
00/00/00
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negative
full
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
60.37DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/60.37_A1.jpg
60.37DI#2
digital image
Verso
10/24/2013
http://127.0.0.1:5000/Media/images/60.37_A3.jpg
60.37DI#3
digital image
10/24/2013
http://127.0.0.1:5000/Media/images/60.37_A2.jpg
60.37SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
60.37DI#4
digital image
edge
11/29/2011
http://127.0.0.1:5000/Media/images/Inventory pictures/60.37_I1.JPG
Sculpture
Six Cubes
William Sellers, (Bay City, Michigan, 1929 - 2019, Pottstown, PA)
Sellers, William
United States
1929 - 2019
Male
43 in. (109.2 cm)
.
.
.
Stainless steel
Stainless steel
1966
1966
1966
1900-2000, 20th century, sculpture
Sculpture
1967.21
item
Memorial Art Gallery
9/8/1999
67.21SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
67.21DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/67.21_A1.jpg
67.21SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
in situ May 1995
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
67.21DI#2
digital image
6/14/2013
http://127.0.0.1:5000/Media/images/67.21_A2.jpg
Painting
Abstract Painting: Red
Ad Reinhardt, (Buffalo NY, 1913 - 1967, New York NY)
Reinhardt, Ad
United States
1913 - 1967
Male
82 x 22 in. (208.28 x 55.88 cm)
.
.
.
without frame
.
.
.
approximate installation dimensions
frame
Oil
Oil
1952
1952
1952
1900-2000, 20th century, paintings, red
Painting
Ad Reinhardt took a philosophical point of view when it came to making fine art and explaining its significance. An influential writer on the subject, he is remembered for having made the following statement: “Art is Art, and Life is Life.” The spirit of this statement is well represented by this painting, which has a very subtle composition that only emerges for the viewer after close inspection. For Reinhardt, to appreciate the true significance of art one shouldn’t compare it to anything else. Art is an idea that is revealed only through pure form and content. For Reinhardt, art cannot teach you about the world. It can only teach you about art.
[Summer 2015]
backing board, In artist's hand?backing board, In artist's hand?
1968.47
item
Memorial Art Gallery
9/8/1999
68.47TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.47SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.47DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/68.47_A1.jpg
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.47DI#3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/68.47_I3.jpg
68.47DI#4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/68.47_I4.jpg
Sculpture
Playground
Tony Smith, (South Orange, NJ, 1912 - 1980, New York, NY)
Smith, Tony
United States
1912 - 1980
Male
64 x 64 x 128 in. (162.6 x 162.6 x 325.1 cm)
.
.
.
overall
Mild steel
Mild steel
1962-1966
1962
1966
1900-2000, 20th century, sculpture
Sculpture
Mitchell-Innes & Nash
1970.57
item
Memorial Art Gallery
9/8/1999
70.57TR1
Transparency
Memorial Art Gallery
Side
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.57SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.57DI1
digital image
Memorial Art Gallery
Side
Imaging complete
8/3/2000
http://127.0.0.1:5000/Media/images/70.57_A1.jpg
negative
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.57DI#2
digital image
6/9/2009
http://127.0.0.1:5000/Media/images/70.57_A2.jpg
70.57DI#3
digital image
10/8/2013
http://127.0.0.1:5000/Media/images/70.57_A3.jpg
70.57DI#4
digital image
10/8/2013
http://127.0.0.1:5000/Media/images/70.57_A4.jpg
glossy
00/00/00
http://127.0.0.1:5000/Media/images/related_images/70.57_R1.jpg
Sculpture
Veranda Post
Olowe of Ise, (ca. 1875 - ca. 1938)
Ise, Olowe of
Nigeria
ca. 1875 - ca. 1938
Male
56 x 132 x 10 in. (142.2 x 335.3 x 25.4 cm)
.
.
.
maximum
Wood
Wood
Yoruba; made in Nigeria
1910-1914
1910
1914
1900-2000, African art, female figures, sculpture, Yoruba
Sculpture
A royal wife stands with her hands resting on the heads of her twin daughters who hold their breasts in a Yoruba gesture of greeting, devotion and humility. This post was carved to decorate a courtyard veranda in the palace of the Ogoga of Ikere, one of the kings of Yorubaland. The courtyard served as an official area where the king received important visitors and conducted affairs of state. It was important that he show off his wealth, power and sophistication in this space.
This veranda post was carved by one of the most renowned sculptors in Africa, Olowe of Ise. His sculptures were so beautiful that some people believed Olowe harnessed the power of spirits who carved for him. Elaborate hairstyles and scarification patterns (look at the royal wife’s back) demonstrate Olowe’s technical mastery and reflect Yoruba standards of beauty. Traces of layered pigments indicate that these were once brightly painted and regularly refurbished.
[Gallery label text, 2009]
1971.13
item
Memorial Art Gallery
11/1/2000
71.13TR2
transparency
back pink
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13TR4
transparency
3/4 view pink
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13TR3
transparency
side
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13TR1
transparency
front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13SL1
slide
full frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13SL3
slide
full 3/4 left side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13SL2
slide
full profile-right side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full/F&B
8 x 10
00/00/00
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negative
full
4 x 5
00/00/00
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71.13DI1
digital image
front
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/71.13_A1.jpg
71.13SL5
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13Di2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/71.13_A2.jpg
71.13DI3
digital image
Detail small figures at base
6/25/2009
http://127.0.0.1:5000/Media/images/71.13_A3.jpg
71.13DI#6
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/71.13_A6.jpg
Sculpture
Working Model for Three Piece No. 3: Vertebrae
Henry Spencer Moore, (Castleford, England, 1898 - 1986, Perry Green, England)
Moore, Henry Spencer
England
1898 - 1986
Male
41 5/8 x 93 x 48 in. (105.7 x 236.2 x 121.9 cm)
.
.
.
Bronze
Bronze
1968
1968
1968
Sculpture
on base, front right corner
1972.51
item
Memorial Art Gallery
3/10/2001
72.51CNEG1
negative
old location
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.51TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.51SL1
slide
full - 1996 view in Pavilion
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
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negative
full
2 x 2.5
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glossy
full
8 x 10
00/00/00
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glossy
11x14
00/00/00
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72.51SL2
slide
full
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.51SL3
slide
detail of vertebrae
2x2
00/00/00
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72.51DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/72.51_A1.jpg
72.51DI2
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/72.51_A2.jpg
negative
full
5 x 7
00/00/00
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72.51DI3
digital image
Detail
5/25/2009
http://127.0.0.1:5000/Media/images/72.51_A3.jpg
72.51DI4
digital image
Detail
5/25/2009
http://127.0.0.1:5000/Media/images/72.51_A4.jpg
72.51DI5
digital image
Detail
5/25/2009
http://127.0.0.1:5000/Media/images/72.51_A5.jpg
72.51DI6
digital image
Detail
5/25/2009
http://127.0.0.1:5000/Media/images/72.51_A6.jpg
72.51DI7
digital image
in-situ- Gertrude Herdle Moore Sculpture Garden
00/00/00
http://127.0.0.1:5000/Media/images/72.51_A7.jpg
72.51DI8
digital image
in SculptureGarden11/72
00/00/00
http://127.0.0.1:5000/Media/images/72.51_A8.jpg
72.51DI9
digital image
in SculptureGarden11/72
00/00/00
http://127.0.0.1:5000/Media/images/72.51_A9.jpg
72.51DI10
digital image
in Sculpture Garden with original crate
00/00/00
http://127.0.0.1:5000/Media/images/72.51_A10.jpg
72.51DI11
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/72.51_R1.tif
72.51DI12
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/72.51_R2.tif
72.51Di13
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/72.51_R3.tif
72.51DI14
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/72.51_R4.tif
72.51DI#15
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/72.51_A15.jpg
72.51DI#16
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/72.51_A16.jpg
Painting
Young Priestess
William-Adolphe Bouguereau, (La Rochelle, France, 1825 – 1905, La Rochelle, France)
Bouguereau, William-Adolphe
France
1825 - 1905
Male
71 1/4 x 32 in. (181 x 81.3 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1902
1902
1902
1900-2000, 20th century, Orientalism, paintings, women
Painting
Bouguereau's idealized figures, with their realistically-rendered surfaces and painstaking level of finish, show a technical mastery that still astonishes. Here the fluid fabrics of the priestess's garments and the drapery behind her contrast sharply with her pale flesh and the stone mosaic of the floor. The lack of context invites viewers to provide the figure with a narrative. This painting, completed when the artist was almost 80, demonstrates a return to the themes of classical antiquity that had been mainstays of his youthful work.
Bouguereau had a typical Academic education: he studied anatomy, classical literature and archaeology along with drawing and painting, and spent a year in Rome where he took inspiration from Renaissance artists. A member of the Academy throughout his career, his paintings were regularly included in the annual Salon exhibitions.
[Gallery label text, 2011]
1973.1
item
Memorial Art Gallery
1/17/2001
73.1TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.1DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/73.1_A2.jpg
73.1DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/73.1_A1.jpg
73.1DI3
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/73.1_A3.jpg
Sculpture
Standing Woman
Gaston Lachaise, 1882 - 1935
Lachaise, Gaston
United States
1882 - 1935
Male
65 in. (165.1 cm)
.
.
.
Bronze
Bronze
1928
1928
1928
1900-2000, 20th century, nudes, sculpture, women
Sculpture
"Standing Woman" was commissioned for the New York City apartment of Mr. and Mrs. O'Donnell Iselin, cousins of James Sibley Watson, Jr., one of Lachaise's most important patrons. Lachaise designed the sculpture knowing that the work was to be the centerpiece of a formal library, and would be placed on the mantel above the fireplace. He wrote that he "composed the figure in a spirit of tranquil elevation, harmonious to the purpose of the room."
Lachaise's most distinguished subjects are life sized draped female figures. The Memorial Art Gallery is fortunate to own two examples, the bronze Standing Woman and the stone Fountain Figure.
[Gallery label text, 2005]
base
Marie P. Charles
1973.75
item
Memorial Art Gallery
9/8/1999
73.75SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.75DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/73.75_A1.jpg
73.75DI2
from conservation photo
digital image
full/front
00/00/00
http://127.0.0.1:5000/Media/images/73.75_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/73.75_R1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/73.75_R2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/73.75_R3.jpg
Sculpture
Big Diamond
David Smith, 1906 - 1965
Smith, David
United States
3/9/1906 - 5/23/1965
Male
28 1/8 x 27 5/8 x 8 7/8 in. (71.4 x 70.2 x 22.5 cm)
.
.
.
overall
Steel
Steel
1952
1952
1952
1900-2000, 20th century, Charles Rand Penney Collection, sculpture
Sculpture
back member, with blind stamp
1975.300
item
Memorial Art Gallery
9/8/1999
75.300TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.300SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.300DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/75.300_A1.jpg
75.300DI#2
digital image
11/22/2010
http://127.0.0.1:5000/Media/images/75.300_A2.jpg
digital image
Front
2/8/2011
http://127.0.0.1:5000/Media/images/Inventory pictures/75.300_I1.JPG
digital image
Back
2/8/2011
http://127.0.0.1:5000/Media/images/Inventory pictures/75.300_I2.JPG
digital image
From left
2/8/2011
http://127.0.0.1:5000/Media/images/Inventory pictures/75.300_I3.JPG
digital image
From right
2/8/2011
http://127.0.0.1:5000/Media/images/Inventory pictures/75.300_I4.JPG
Musical Instrument
Slit Gong
Kayan-Borbor artist, (active )
Kayan-Borbor artist
Papua New Guinea
16 x 81 1/2 x 14 in. (40.6 x 207 x 35.6 cm)
.
.
.
Wood
Wood
Kayan-Borbor; made in Ramu River Region, Papua New Guinea
ca. 1940
1935
1945
1900-2000, musical instruments, Oceanic, Oceanic art (Pacific Islands)
Musical Instrument
The spiritual lives of Melanesian communities are dominated by Men’s Societies. The ceremonial Men’s House is the sacred dwelling place of the clan spirits, treasures, and of initiated men. Traditionally, slit-gong drums were located at the center of the Men’s House and functioned as musical instruments as well as a means of long-distance communication. A range of tones and sounds could be produced depending on the style of the beating stick and the varying thickness of the sides of the drum. In parts of New Guinea, the sounds produced by slit-gong drums were believed to be the voices of supernatural beings. Hollowed from a massive single tree, the sides of this drum are carved with a mix of butterfly, frog and fish motifs that are so stylized they can be difficult to discern.
[Gallery label text, 2009]
1979.19
item
Memorial Art Gallery
3/20/2001
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
1x1.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
79.19DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/79.19_A1.jpg
79.19SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
79.19DI#3
digital image
front
6/18/2008
http://127.0.0.1:5000/Media/images/79.19_A3.jpg
79.19DI#2
digital image
Three-quarter
6/18/2008
http://127.0.0.1:5000/Media/images/79.19_A2.jpg
Painting
The Beginning of the Fields
Fairfield Porter, 1907 - 1975
Porter, Fairfield
United States
1907 - 1975
Male
52 x 76 1/8 in. (132.1 x 193.4 cm)
.
.
.
without frame
.
.
.
approximate installation dimensions
frame
Oil
Oil
1973
1973
1973
1900-2000, 20th century, landscapes, paintings, roads
Painting
lower rightyes, in the stretcher
1986.132
item
Memorial Art Gallery
9/8/1999
86.132TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.132SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.132DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/86.132_A1.jpg
71porter1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/71porter1.tif
86.132DI#3
digital image
4/17/2014
http://127.0.0.1:5000/Media/images/86.132_A2.jpg
Sculpture
Convergence
Albert Paley, (Philadelphia, Pennsylvania, 1944 - )
Paley, Albert
United States
1944
Male
107 x 77 1/2 x 16 1/2 in. (271.8 x 196.9 x 41.9 cm)
.
.
.
Steel
Steel
1987
1987
1987
1900-2000, 20th century, by Rochester artists, Craft, decorative arts, metalwork, School for American Craftsmen, sculpture
Sculpture
upright member on right side
Albert Paley
1987.61
item
Memorial Art Gallery
9/8/1999
87.61TR1
Transparency
Memorial Art Gallery
Front
2 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
transparency
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
87.61SL1
slide
full frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
87.61DI1
digital image
Memorial Art Gallery
Front
Imaging complete
2/2/2001
http://127.0.0.1:5000/Media/images/87.61_A1.jpg
87.61SL2
slide
3/4 from right
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Dr. Caligari
Wendell Castle, (Emporia, KS, 1932 - 2018, Scottsville, NY)
Castle, Wendell
United States
1932 - 2018
Male
92 1/2 x 31 1/2 x 26 1/2 in. (235 x 80 x 67.3 cm)
.
.
.
overall
Curly cherry veneer, ebony and gold-plated brass
Curly cherry veneer, ebony and gold-plated brass
1984
1984
1984
1900-2000, 20th century, by Rochester artists, clocks, Craft, decorative arts, School for American Craftsmen, sculpture
Sculpture
Dr. Caligari is among a series of thirteen clocks that Wendell Castle created in the 1980s. He made them at the suggestion of his dealer, who urged him to create a body of work that would challenge the critics’ association of Castle with functional furniture. Castle was particularly interested in the concept of time, and Dr. Caligari is a fanciful exploration of time travel. Its tall case is rich with connections to traditional grandfather clocks. It suggests either a trip to the past in an ancient obelisk, or to the future, in a rocket ship.
The title of the work was inspired by the angular set design of the 1920 German Expressionist film, The Cabinet of Dr. Caligari. The clock’s painted interior was intended to suggest the silent horror film’s unsettling mood. Castle and his longtime associate Don Sottile developed a smearing technique using India ink over gesso that gave the painted finish its distinctive feathered edges.
[Gallery label, summer 2015]
inside left doorinside case
Wendell Castle
1988.1
item
Memorial Art Gallery
9/8/1999
88.1TR1
Transparency
Memorial Art Gallery
Front
2 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
transparency
open
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
88.1SL1
slide
full front-open
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
88.1DI1
digital image
Memorial Art Gallery
Front
Imaging complete
2/5/2001
http://127.0.0.1:5000/Media/images/88.1_A1.jpg
88.1SL2
slide
full front-closed
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
88.1SL3
slide
still from film Dr. Calligari
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
881.DI#2
digital image
interior
5/27/2005
http://127.0.0.1:5000/Media/images/Inventory pictures/88.1_I2.jpg
881.DI#3
digital image
interior
5/27/2005
http://127.0.0.1:5000/Media/images/Inventory pictures/88.1_I3.jpg
881.DI#4
digital image
interior
5/27/2005
http://127.0.0.1:5000/Media/images/Inventory pictures/88.1_I4.jpg
88.1DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/88.1_A2.jpg
Drawing
Geraniums
Odilon Redon, (Bordeaux, France, 1840 - 1916, Paris)
Redon, Odilon
France
1840 - 1916
Male
19 13/16 x 15 7/8 in. (50.3 x 40.3 cm)
.
.
.
sheet
sheet
.
.
.
overall
frame
Pastel
Pastel
1902
1902
1902
1900-2000, 20th century, drawing, flowers in art, Lockhart Collection
Drawing
lower right, in the image
1989.50
item
Memorial Art Gallery
2/22/2001
89.50TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
89.50SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
89.50DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/89.50_A2.jpg
89.50DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/89.50_A1.jpg
Painting
Summer Street Scene in Harlem
Jacob Lawrence, 1917 - 2000
Lawrence, Jacob
United States
1917 - 2000
Male
20 1/16 x 24 1/8 in. (51 x 61.2 cm)
.
.
.
without frame
image
.
.
.
overall framed size
horizontal
frame
Tempera
Tempera
1948
1948
1948
1900-2000, 20th century, cityscapes, Images of Black People, New York city, paintings, Social Realism
Painting
Jacob Lawrence put his own stylistic innovations on the flattened surfaces, distorted shapes, and bold colors of modernism. Here his vibrant palette and energetic composition express the joy and vitality of a summer in Harlem. Children play with their soap box and approach a shaved ice vendor; adults gather in conversation. Lawrence moved to Harlem with his family at the age of twelve, and he was greatly influenced by the creative community flourishing there.
Lawrence chronicled the lives, accomplishments, and challenges experienced by Black communities in the United States. His best-known series, The Migration of the Negro (1941), depicted the mass movement of Black people who relocated from the American South to the North, Midwest, and West in search of economic and social mobility. Lawrence’s parents themselves moved to the North in this exodus known as the Great Migration, which took place from the 1910s through the 1970s.
[Gallery label text, 2024]
lower rightback of panel, Undated; from 1974-75 exhibitionback of panel, partly covered by another labelback of panelback of panelback of panelback of panelback of panelback of panel, orange tag with black printing
Jacob and Gwendolyn Lawrence
1991.5
item
Memorial Art Gallery
9/8/1999
91.5TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.5CNEG1
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.5SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.5DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/91.5_A1.jpg
68lawrence1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/68lawrence1.tif
M425_p271.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p271.tif
Painting
The Linen
Pierre Bonnard, (Fontenay-aux-Roses, France, 1867 – 1947, Le Cannet, France)
Bonnard, Pierre
France
1867 - 1947
Male
19 5/8 x 25 1/2 in. (49.8 x 64.8 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1909
1909
1909
1900-2000, 20th century, genre scenes, paintings, women
Painting
As an art student in Paris, Bonnard became affiliated with the Nabis, or Prophets. This group of young artists was influenced by Paul Gauguin's belief that a painting should be a product of the imagination rather than a mere copy of nature. Influenced also by Gauguin's style, the Nabis simplified form and used color boldly and expressively.
After the turn of the century, Bonnard refined these principles, developing a personal, decorative, and highly subjective style. As in this scene, his pictures of everyday life often featured his wife. Painting from memory in his studio, Bonnard freely modified form and heightened color to express the beauty he recalled in nature.
[Gallery label text, 1999]
lower centerback of frameback of frameback of panel, Note European-style 7 with line through center
1991.36
item
Memorial Art Gallery
1/17/2001
91.36SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.36DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/91.36_A1.jpg
91.36DI#2
digital image
3/25/2008
http://127.0.0.1:5000/Media/images/91.36_A2.jpg
Sculpture
Two Lines Up Excentric - Twelve Feet
George Rickey, (South Bend, IN, 1907 - 2002, St. Paul, MN)
Rickey, George
United States
1907 - 2002
Male
231 15/16 x 266 in. (589.2 x 675.6 cm)
.
.
.
Radius
.
.
.
vertical
Blades
.
.
.
maximum
Stainless steel
Stainless steel
1994
1994
1994
1900-2000, 20th century, sculpture
Sculpture
bottom of main support
George Rickey
1994.44
item
Memorial Art Gallery
9/8/1999
94.44TR1
Transparency
Memorial Art Gallery
Front, 3/4
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44TR2
Transparency
Memorial Art Gallery
Front, 3/4
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44TR3
Transparency
Memorial Art Gallery
Front, 3/4
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44TR4
transparency
Front, 3/4
2 1/4 x 3 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44TR5
transparency
Front, 3/4
2 1/4 x 3 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44TR6
transparency
Front, 3/4
2 1/4 x 3 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44DI1
digital image
Memorial Art Gallery
Imaging complete
8/3/2000
http://127.0.0.1:5000/Media/images/94.44_A2.jpg
94.44DI2
digital image
Memorial Art Gallery
Imaging complete
8/3/2000
http://127.0.0.1:5000/Media/images/94.44_A3.jpg
94.44DI3
digital image
Memorial Art Gallery
Imaging complete
8/3/2000
http://127.0.0.1:5000/Media/images/94.44_A1.jpg
negative
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44DI4
digital image
Memorial Art Gallery
Imaging complete
10/8/2009
http://127.0.0.1:5000/Media/images/94.44_A4.JPG
00/00/00
http://127.0.0.1:5000/Media/images/94.44_A5.jpg
glossy
in situ May 1995
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44DI#5
digital image
6/12/2013
http://127.0.0.1:5000/Media/images/94.44_A6.jpg
Painting
Famous Names
Jaune Quick-to-See Smith, (Saint Ignatius, MT, 1940 - )
Smith, Jaune Quick-to-See
United States
1940
Female
80 x 50 in. (203.2 x 127 cm)
.
.
.
without frame
Oil
Oil
1998
1998
1998
1900-2000, 20th century, paintings
Painting
Jaune Quick-To-See Smith’s collaged paintings incorporate the desert colors of her childhood with the spontaneous brushwork of Abstract Expressionism. She has said about her work:
My art, my life experience, and my tribal ties are totally enmeshed. I go from one community with messages to the other, and I try to enlighten people.
Famous Names accomplishes Smith’s self-appointed task. The canvas is dominated by the image of a traditional Native American buckskin dress. The photographs and text around this central form refer to stereotypes that the dominant non-Native culture has used to describe Native Americans as simultaneously exotic and ridiculous, and to marginalize them. As Seneca artist and site manager of Ganondagan
G. Peter Jemison writes in an essay on this painting, the “famous names” referenced in the title offer a composite of “a record of people with ancient ties to the land and of the often-bungled attempts of English-speaking writers to capture what a translator related.”
[Summer 2015]
Jaune Quick-to-See-Smith
1998.39
item
Memorial Art Gallery
10/18/1999
98.39TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.39SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.39DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/98.39_A1.jpg
98.39DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/98.39_A2.jpg
72smith1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/72smith1.tif
M425_p288.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p288.tif
Sculpture
The Admiral's Game
Joseph Cornell, 1903 - 1972
Cornell, Joseph
United States
1903 - 1972
Male
12 x 18 x 4 in. (30.5 x 45.7 x 10.2 cm)
.
.
.
overall
Mixed media
Mixed media
ca. 1950
1945
1955
1900-2000, 20th century, sculpture, still lifes
Sculpture
Romantic and enigmatic, Joseph Cornell’s boxes are filled with fragments of found materials. In The Admiral’s Game, the parallel rods that hold a pair of white balls might suggest a playful arcade game or the timeless and profound idea of an all-powerful creator setting the planets in motion.
Cornell made his highly symbolic and mysterious creations at the home that he shared with his mother and brother in Queens, New York. While Cornell was reclusive and essentially an outsider in the art world, his work influenced many important American artists, including Robert Rauschenberg, Jasper Johns, Andy Warhol, and Marcel Duchamp.
[Summer 2015]
1998.77
item
Memorial Art Gallery
10/20/1999
98.77TR1
Transparency
Memorial Art Gallery
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.77SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.77DI1
digital image
Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/98.77_A1.jpg
98.77TR2
Transparency
Memorial Art Gallery
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.77DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/98.77_A2.jpg
Print
Evian
Jasper Johns, (Augusta GA, 1930 - )
Johns, Jasper
United States
1930
Male
43 1/2 x 29 1/2 in. (110.5 x 74.9 cm)
.
.
.
overall
vertical
image
.
.
.
sheet
Printer's ink
Printer's ink
1972
1972
1972
1900-2000, 20th century, circle, lithographs
Print
lower left, below imagelower left, below imagelower left corner, Publisher's markversoversoverso
2002.26
item
Memorial Art Gallery
10/24/2002
2002.26DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2002.26_A1.jpg
2002.26SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2002.26DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/2002.26_A2.jpg
Mixed Media
Monument
Christian Boltanski, (Paris, France, 1944 - 2021, Paris, France)
Boltanski, Christian
France
1944 - 2021
Male
77 x 59 in. (195.6 x 149.9 cm)
.
.
.
overall
1986
1986
1986
Mixed Media
The faces of the children included in Christian Boltanski’s Monument seem eerily familiar. While the scale of this piece and the arrangement of the images is reminiscent of a memorial, these same eyes could peer out at us from photo albums or yearbooks; faces of individuals who are still alive but no longer young. Boltanski, who is fascinated with the suggestive power of imagery and the role of memory in shaping our relationship with his work, has said, “What drives me as an artist is that I think everyone is so unique, yet everyone disappears so quickly.”
[Hawks Gallery reinstallation, summer 2019]
2004.13
item
Memorial Art Gallery
8/23/2004
2004.13DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2004.13_A1.jpg
2004.13DI#2
digital image
9/12/2019
http://127.0.0.1:5000/Media/images/2004.13_A2.jpg
Drawing
Over Blue
Georgia O'Keeffe, (Sun Prairie, WI, 1887 - 1986, Santa Fe, NM)
O'Keeffe, Georgia
United States
1887 - 1986
Female
Primary
28 x 22 in. (71.1 x 55.9 cm)
.
.
.
overall
vertical
frame
.
.
.
overall
sheet
.
.
.
overall
frame
.
.
.
frame
Pastel
Pastel
1918
1918
1918
10.2006L
Drawing
This beautiful image was created by Georgia O’Keeffe soon after her return to New York City from Texas at the invitation of art dealer and photographer Alfred Stieglitz, whom she would marry several years later. It is from the very earliest part of her career, the first decade in which she seriously identified as an artist.
Its remarkably light-filled palette contrasts with the Gallery’s 1931 painting by O’Keeffe, Jawbone and Fungus.
The Memorial Art Gallery is deeply grateful to Anne Whitman, whose commitment to the Rochester community motivated her to leave this treasure from her collection to an institution that would share it with visitors for many generations to come.
[Gallery label text, 2007]
upper right corner of original backing boardupper left quadrant of original backing board, hand drawn five pointed star with letters OK in centerupper left quadrant of original backing board
Juan Hamilton
2006.77
item
Memorial Art Gallery
2/22/2006
10.2006LDI#1
digital image
full
00/00/00
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2006.77TR1
transparency
full
4 x 5
00/00/00
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glossy
full
8 x 10
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negative
full
4 x 5
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2006.77DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2006.77_A1.jpg
2006.77SL1
slide
2 x 2
00/00/00
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2006.77DI#2
digital image
7/29/2022
http://127.0.0.1:5000/Media/images/2006.77_A2.jpg